Interview & Exclusive Mix Archives — Page 12 of 13 — MEOKO

Shlomi Aber – “the new” deep house hype is so far from being real, deep house means deep and house, like back in the days, warm and organic, the real deal”

By Hot Off The Press, Interview & Exclusive Mix, Interviews, MEOKO Exclusive


With over fifteen years of experience as a sought-after producer, Shlomi Aber, hailing from Tel Aviv, has firmly placed himself amongst the lead of techno pioneers who escape pidgeon-holing whilst carving their niche in international dancefloor realms.  Releasing on influential labels such als Cocoon, Desolat, Cadenza, Ovum, R&S, and his own imprint Be As One, he manages to resonate the spirit of ancient Detroit techno, jazz, funk, minimal and acid, while interpreting these roots in a timeless and single-minded approach: to move mind, body and soul.  His mixes and productions are outstanding testimonies of these principles, and with their slow-winding grooves and lowdown bass unlock the great potential to unite people all over the planet and make them dance.  In this fresh interview, Shlomi is sharing some knowledge and personal beliefs with MEOKO, as well as giving an insight about his achievements in 2012 and his expectations for the forthcoming year.



2012 was a huge year for you & your music; you’ve released tracks on some of the most influential labels including Cadenza Lab, and Desolat. How do you feel about this?

No doubt 2012 was more of “an experience” year for me, trying new things, working with new labels and re open my ‘be as one’ booking agency.  I’m never limiting myself in the studio, it always remains Shlomi and will always have my signature on it, it’s granted but yet it can be any type of genre as long as I feel it’s part of me.  Some of these productions felt like they will be in good hands with Desolat and Cadenza as mentioned and I was right, great labels, professional and fun to work with.


Be As One has had a great year, where do you see your label going in the future? Any new artists you’ve signed or forthcoming releases you can share with us?

 Indeed it was a fantastic year for the label, I’m trying to concentrate in doing my own “thing” with the label musically, and keep any of the trends around outside of the equation.  I’m happy to see it’s getting such great feedback and support from all over, we going into the 7th year and many more to come with great artists lined up like the in house Sable Sheep, Gel Abril and more.

 Exclusive Shlomi Aber Mix –  MEOKO 56 – Click here to listen 


What was your biggest accomplishment & best moment of 2012? & where do you see yourself going this current year, any big plans or you just going with it?

So many great memories from the past year, great shows and moments to cherish, can’t point on any specific accomplishment as i don’t count results as accomplishments … it’s mainly about the road taken , and i couldn’t be more satisfied with the choices made, I’m living my musical journey in the most artistic way i can, means not thinking about anything except doing what I like and reflect it back with some love to the scene.


‘We Don’t Fit’ on Luciano’s label Cadenza Lab is a real anthem for us, how did releasing that EP come about?

This track went trough 20 different versions , I’m not even sure anymore that the released one was the best, at some point you just lose it and the lines are blurred.  As a pack alongside “Rear Gear” On the b side it was very much “Shlomi Aber” and i felt i wanted to do something new with it , trying a label i never worked before and I’m happy i went with Cadenza for this one , they definitely treat it well , the amount of promotion they are doing it’s massive, very different from my ‘be as one’ where I’m trying to keep things more neutral and underground .



Its a long journey for you from Israel, how is the underground scene in your hometown?

The scene in Israel keeps getting better these days, it’s all about Tel Aviv, it’s a great market and I’m enjoying very much playing here, even though I’m not doing it more then 2-3 times a year as in any other city in the world , I’m always looking forward to the local shows.

What do you do to pass time on long flights, any interests apart from music?

Mostly books and TV shows, I’ve just finished the 8th season of “house” and going to watch the last season of boardwalk empire next.  I’m a very curios and impatient person, starting to watch a show or reading a book it’s a non stop for me until I finish it, I can spend a day or two in bed under a warm blanket till I’ll finish a season as i can’t stand not knowing what’s next.

For your London show, you will be playing alongside Andrea Oliva, do you know him well? Can we expect any surprises from you two?

Andrea is one of my best friends for many years, if i’ll use the word “brother” he will be definitely a great choice for that, we going way back and experienced so much together.  He is a very talented person and a pure soul and I couldn’t be happier with the hype around him at the moment, it is well deserved.  He was the first to book me to play Switzerland 8 years ago and we remain soul friends since then.

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What are your thoughts on where the underground scene is heading, do you think it will eventually hit the USA on a larger scale like we are seeing at the moment with the more commercial side of the industry?

It’s funny , I can’t understand the idea of “to want and be part of the underground, but at the same time wishing for it to become mainstream”  I must say that I’m not so convinced with the way it’s going musically these days within the underground scene,  its getting too “popish” and uninspired to my taste, the new “deep house hype” is so far from being real, deep house means deep and house, like back in the days , warm and organic, the real deal, these days everything between 118-122 bpm called deep house, some of it is even blend with unbearable electroish sounds.  The underground scene  will always remain, when the current sound will get commercial, the underground will keep and invent itself with new sounds and minds .


What makes playing in London different to other cities in Europe?

London will always remain one of the main “temples” of underground music, the young and open minded community of the city will always be innovative  when it comes to music.  I remember the late 90’s when it was mainly about London, I used to come few times a year just for buying records, it was “the place”, before the hype moved to Berlin years after, and it’s still one of the greatest cites in the world.


You’ve had great success with your latest release ‘Foolish Games feat Moggli’, how long does it normally take you to complete a track & what was your inspiration behind this one?

I felt the need to experience a new type of production, I’m not working with full vocals often in my productions, but i would love to produce something more abstract one day, I’m very inspired from bands like Radiohead or singers like Jenis Joplin, foolish games was my way to mixing it into my “scene”,  I needed it to be interesting and different enough, but yet not too underground or mental, therefore it was a few months production that went from left to right till I came up with the released version, which I’m very happy about thanks to the unique voice of moggli .

Catch Shlomi Aber next at Purple Inc. London alongside Andrea Oliva – Click Here For More Info 

Buy Tickets here for Purple Inc. Event with Shlomi Aber 

words by Carlos Hawthorn 

Kabale Und Liebe – Interview and Exclusive Mix

By Hot Off The Press, Interview & Exclusive Mix, Interviews, MEOKO Exclusive, MEOKO Presents


Liron van Daalen, as he is known to his parents and close aquaintances, is one of the most interesting DJs and producers the Amsterdam scene has brought forward in recent times. The Dutch DJ and live performer, producer, remixer and label owner who uses the moniker Kabale und Liebe, originally borrowed his name from German dramaturge Schiller´s play to disguise his true identity when submitting his productions to befriended artists, intruigues with surprising elements, such as deep and dark male voices, Spanish vocals, strange effects, and a strong focus on incorporating house elements of the first decade in his driving, abstract and reduced techhouse productions whilst sounding astonishingly contemporary and fresh. First showing up on the international radar with his clubhit “Mumbling Yeah” in 2007, Kabale und Liebe who started his DJ career at the age of twelve, has since set up the label Soweso with studio partner and fellow newschooler Lauhaus, successfully followed up by its sublabel We Dig Music, both heading into an exciting new 2013, with lots of interesting new signings and outings which will turn heads and move bodies.  MEOKO managed to catch Liron between international gigs to chat about a few interesting novelties. 


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Hi Kabale, thanks for talking to us.  Now that it’s January, how do you reflect back on 2012? What lessons do you take into the new year?

2012 has been a moving year for me, mainly on a personal level.  I’ve had to deal with some struggles, but in the end I think I’ve learnt a lot and have come out stronger.  2013 the focus will be put more on my music again. I have a better peace of mind again and have rebuilt my studio at the end of 2012, so all is set to make 2013 a year full of musical focus.

What does 2013 hold for you and your musical pursuits? Are there any big plans or is it business as usual?

Yes there are some big plans!  In the pipeline is a release on Supplement Facts, a remix for Moon Harbour and Paco Osuna’s Mindshake Records.  Also I will continue working with Joris Voorn’s label rejected and this year I will definitely do 1 or more releases on my own label Soweso Records.

You’ve been producing a lot with Lauhaus recently.  Tell us about your relationship and how it translates onto the music making process.

Lauhaus and me have been friends for over 10 years and we’ve started the labels Soweso Records and We Dig. Music together.  Expect another collab from us this year, probably to be released on Soweso Records.  We work pretty smooth together as we both have a bit of a different approach, which in our case complements each other.

How do you spilt your time between ‘Soweso’ and your solo career? Will this balance shift at all in 2013?

We have at least 1 day per week, where we meet in our office and work hard on both of our labels.  We also have 2 employees that come in that day and help us with the promotion, planning and everything else that goes with running a label.  Besides that we try and check out as many demos as possible during the week.

 Exclusive 2 HR recording of Kabale und Liebe @ Studio 80 – Click to Listen


How do you and Lauhaus split the duties of running the label? Who listens to the promos and who makes the tea?

We both listen to demos, the A&R is done equally by both of us.  We both have to feel a track comepletely before we release it.  So you can say we have a double filter.  The tea is made by one of our interns, obviously 🙂


The focus of ‘Soweso’ has always been to provide a platform for the talent around you.  Are there any exciting new artists breaking through on the label in the coming year?

Of course! Just released on vinyl now, and soon out digitally is a release by Panos & Sentenza.  Two guys from the US, who I’ve met in Detroit in 2011.  They’re making really solid house tracks and are definitely guys to watch out for this year!  Besides that we have another big talent and great DJ from Amsterdam coming up on Soweso later this year called Efdé ……On We Dig. Music we have Bjorn Wolf & Youri Donatz who have made 1 of the biggest dancefloor bangers of 2012 featuring Mike Dunn called Iz Diz Houz?  A remix EP of this is coming out soon, featuring remixes of Butch, Sante and Coyu.

Your track ‘Hiphouse’ with Lauhaus really captured a style that has taken off over the past 12 months.  Were you aware of this movement when you made the track?

No, that is not the way we work.  And actually the track was already made in 2010 and layed on the shelves for over a year, before we sent it to rejected.  Clearing the rights of the vocal also took a very long time, so when it eventually came, in our minds it was already a bit old…  nevertheless I’m still happy with the result.  Oldschool hiphop has been a big influence and inspiration for me in my life and this legendary rap by Eric B & Rakim in particular.


What is it about the hip-hop/house fusion that has captured the imagination of so many recently?

I don’t know… that’s different for everybody I guess, as everybody experiences music in his own way…


How have you seen Dutch house music change since you became a part of the scene back in 2006/7? Is it a more open and easily accessible community today than it was then?

Yes definitely…  as music evolves, so do local scenes.  I also don’t think it’s very healthy to keep on doing the same thing… In the beginning it was kind of new and surprising to people, but eventually it loses it’s element of surprise and it becomes predictable.  Then it’s time to move on and evolve.  Lately I think other people and labels like Clone and Tom Trago have come into the spotlight of the Amsterdam scene.  I think this is a good thing. It allows the scene to be known as a more diverse scene and not particular for 1 kind of sound.

Over the years do you feel as if you’ve settled more into the production/label management groove as opposed to Djing or do you still enjoy the club environment as much as ever?

Not at all.  For me, producing and djing are two separate passions, which I’ve both been doing for a long time.  I couldn’t choose between any of the 2 and I still enjoy both as much (if not more) as ever.  They’re both a different way of expression.

Catch Kabale und Liebe next at Entail Records presents Unlock Launch Party alongside Alex Niggemann and Ron Costa – See Full Details here 

Buy Tickets Here 


A chat with Francis Harris aka Adultnapper + Exclusive Mix

By Hot Off The Press, Interview & Exclusive Mix, Interviews, MEOKO Exclusive

francis harris

Francis Harris or Lightbluemover, better known for his powerful Adultnapper output, will not let you get away lightly: Solely responsible for this aural masterpiece — MEOKO’s 55th installment is the perfect New Years mix overflowing with anti matter as it sucks you into its black hole atmospheres,  his queazy yet utterly compelling podcast episode is something you will not forget for a long, long time.  It’s very likely you will have to listen to this one again and again, to repeatedly drown in his dark blue shadow alley sounds full of surprising twists and turns while you also end up getting hooked on its addictive ingredients — haunting melodies and voices and strange tonal effects — although you might be in denial.  Adultnapper creator Harris had quite a heavy time in the last couple of years, which, with the overshadowing event of the death of both his parents, led to a shift of perception on life and his own output.  Always one to tamper with boldness, the born and bred punk rocker who grew up in Las Vegas allegedly went on from “hating dance music” to actually cutting his mark within the experimental outreaches of the sophisticated electronic music scene.  Owing to his great talent, he draws inspiration from the endless depths of musicality, philosophy, life and… death: Maybe one of his greatest oeuvres, his first longplayer, “Leland”, released under his real name Francis Harris on his own imprint Scissor & Thread, came out in February 2012 in memory of his parents and stands like a landmark.  It’s remarkable that since, Harris has seen himself showing more and more of Francis Harris as opposed to returned to the save shelter of orthodox, floor-friendly Adultnapper anonymity.  This mix is the perfect proof that depth and emotionality does work in an electronic music context, and that the implied song-based approach is of such complexity it actually stands the test of time. Great great talent.

Exclusive MEOKO Podcast from Francis Harris 

Click to Listen

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Adultnapper, we appreciate your time.  Or is this Francis Harris? How is the split-personality disorder coming along by the way?

Well I wouldn’t call it a split personality. More, like the end of an era. I feel after all the personal turmoil with losing my parents, the idea of Adultnapper had run its course. It now feels sort of like a different person to me. This is not to say that at some point I won’t come back to it, but for now, I’m enjoying a fresh start with a fresh sound. 


Amongst other things, you’re known for your fierce political beliefs.  Tell us, honestly, how do you feel about Barack Obama’s recent re-election?

I am cautiously optimistic. I have a lot of issue with his Presidency. I think he made a lot of promises that he, nor any acting President, can keep so easily. It remains to be seen, however, as to whether or not he really steps up his game on certain key progressive ideas like the environment and civil liberties as they pertain to national security. 

Your output appears to have got a lot deeper and perhaps more emotional in recent times.  Would you agree? Why is this?

All my music has always been an emotional output, but having lost both my parents to Cancer in the past few years, I’m in a hyper emotional mode. Its hard for me to go in the studio and bang out big club tunes at the moment because my head has simply not been in the club in recent times. That being said, I am feeling a new found desire to get back to making club records. I’ve been really inspired by a lot of the vinyl coming out these days, so its driving me back into the dark room so to speak. 



It’s also become quite slow.  You’ve always said you don’t like to exceed 122bpm but recently you’ve been dropping down to the 110 mark.  Does a slower beat afford you more creative freedom as a producer?

Really I don’t like to dissect music in this way. A groove or song works or it doesn’t work, whether its fast or slow. I just think maybe my mind is moving at a slower pace these days and the emotions I’m feeling have slowed my life down in general, so I suppose, as a result, I’m making slower music. 

In what ways would you say your passion for literature, politics and philosophy (feed into or are influenced by) the way you make or perform music in the electronic realm? Do you see house and techno as similarly ‘intellectual’?

I think there is a danger equating music with any form of intellectualism, as it creates an imaginary structure which can be limiting.  I am, like anybody, inspired by the life around me and a big part of my life is a love for the written word, so this definitely inspires me in a lot of ways. there is a mood to writing that puts me into a state that allows me to translate a lot of my feelings into the music I make. 

167713 492281553514 2408242 nYou’ve worked alongside MANDY on two recent releases on Get Physical.  How did the collaboration come about? What was it like working with them in the studio?

Everything I’ve done with Philipp has really been out of friendship. He is such a positive person that its infectious and he has really helped me to open up from a personal standpoint, which, in turn has opened new avenues in writing. 


You said in an interview with Resident Advisor several years back that if capitalism ever swallowed up techno you’d walk away from the scene.  While this has yet to come to pass, it’s certainly sunk its teeth into commercial dance music in the form of ‘EDM’.  What’s your take on that recent global explosion?

I don’t even relate to it. Its about as pertinent to what I do as the sound track to Nordic Vikings Burning down churches. I don’t even pay attention to it.  Its the lowest common denominator of thought and culture. 

It’s been a while since we heard anything from your Ransom Note imprint.  Is it still active? Why so dormant of late? What’s next?

Well Ransom Note, as stated before in several other interviews, was a piss take on Postmodern language, so it was, ironically, sort of an intellectual joke and a double talk of sorts. Now that my life is changed, i want my music to have more of a direct connection to who I am and where I am in the world. Scissor and Thread is that outlet and for the first time, I feel at home with an imprint. It feels more like a family. 

Finally, cast your mind back over your extensive back catalogue: subjectively, what do you think is the best track you’ve ever made?

For just dark club music: Adultnapper- Compass Rose

For home listening and club: Francis Harris feat. Gry: Lost Found

For just at home:  Francis Harris: Whether it Was

OneMore Preview & Interview + Kiki Mix Exclusive

By Event Previews and Reviews, Hot Off The Press, Interview & Exclusive Mix, Interviews, MEOKO Exclusive



In the space of two years Alex, Nunzio and Stefano have created one of London’s best underground house and techno events in OneMore.  Every month Shoreditch’s Hearn Street Car Park is transformed from raw warehouse space into one of London’s premier rave venues. It’s old school Hacienda vibe and cutting edge lineups give it an atmosphere difficult to be paralleled anywhere else in London. MEOKO chat to the guys about their past, present and future…


kennylarkinHi guys, thanks for speaking to MEOKO today. I’m sure you’re very busy with two huge events coming up… It’s your 2nd anniversary this weekend on the 8th December and you’ve got a special live set from Lawrence who is an incredible producer. What else have you got lined up for the night?

OneMore:  Yes, Lawrence played live at OneMore 12 months ago and was great… we just had to get him back!! Same thing with Kiki, he did a memorable performance at OneMore in the pre-Hearn St era so we wanted him back as a little birthday treat… but the BIG treat is Kenny Larkin, really looking forward to meet him, he’s one of those legendary characters as far as house and techno is concerned and of course we’re all looking forward to see him in action!!  

OneMore is turning two this week, but you guys have a wealth of experience in throwing events and parties.  How did you all three meet and where did the idea/concept for OneMore come from?

OneMore: As you said, we have always worked within the music industry… Before becoming business partners we were already best mates with a common passion for music. We figured out what we enjoyed the most about the east London underground scene and decided it was time to put our experiences to use by setting up a new project. So OneMore was born. The idea was clear since the beginning, to provide unconventional settings with high quality production and high caliber international guests….Honestly, it’s one of the best feelings to be able to run a business together with your best friends and fuelled by common passion…For us it’s a full time job but we treat it like our baby.  Amongst us, we are 3 completely different and opposite characters but all together we became really powerful.

photo onemore

How do you break down the responsibilities? Are you each in charge of different aspects of the events, or is it a combined effort on all fronts?

OneMore: Of course we have different responsibilities; we have lots of things to do every day as we also run Hearn Street Car Park as a venue for lots of other things such as photo & video shoots and corporate events. 

The good thing about the structure between us 3 is that it is flat. Nobody tells anyone what to do… We just had roles to fill and they were filled naturally… The boss is everyone and nobody at the same time so whatever decision needs to be taken is taken together to combine all efforts.  Additionally, of course we put together a big team (family) and every single one of them deserves some merit because we believe that this success was achieved thanks to everyone working together!

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There have been some very special nights down at Hearn Street Car Park. Do you have any favourite OneMore memories?

Stef: Oh, wow, there are so many… actually, every event felt like the best memory…. Until the next one came along and became the new best!!

Nunzio: For me every Onemore event is the best but the most memorable is the August Marathon.  It was something that made me very happy because it was a real challenge for us to make 2 warehouse parties in the same day, in 2 different venues, one straight after the other…Unforgettable!!


Alex: Of course an important memory for me is when our mate Steve Lawler came to play for us. That is always amazing to meet and work with him because there is always a strong connection btw Steve and OneMore.  Another moment which I will never forget was back in May, Radio Slave’s 4 hrs set! This guy is for me one of the best djs on the planet and this is the reason why he is one of our regulars.  Let’s not forget our Marathon in August, 17hrs of music in 2 different venues, definitely one of the busiest nights in the history of Hearn Street. Also another super night was with Pan-Pot and again with Ryan Elliott…basically I believe EVERY event since we took over Hearn Street Car Park has been an unforgettable moment.

Any nightmare moments you can tell us about?

OneMore: That’s an easy question J. Receiving a phone call from Guy Gerber’s agent 24 hrs before the event to say that he was not going to perform due to illness has to be right up there!! However, from that horrible moment we learnt how OneMore has gained an amazing reputation and respect within the Industry, because in the following 24tHrs we had full support from all the agencies we worked with to find the right replacement. So we managed to replace him in a record-breaking time so that we still offered a special guest (Ripperton) and everything worked out for the best…  

 Exclusive Mix from Kiki  – Catch Kiki at OneMore this Saturday 8th December 



There’s been a real resurgence in warehouse parties in London. Do you think this is because there’s a lack of quality clubs, or because the warehouse venues offer you something different?

Stef: There are millions of people in London and most of them are happy with conventional clubbing experiences, purpose-built structures with great sound and lighting designed to entertain the masses… A bit like a holiday resort where you don’t have to worry about anything… And that is cool!  However, London also offers an incredible amount of amazing spaces, designed for some other original purpose, but which can now be recycled into fantastic venues… In a warehouse you don’t know what to expect so a warehouse party is far more adventurous and therefore more appealing to some people. So, yeah, warehouses offer something different but at the same time, it doesn’t mean that clubs are no-good…

Alex: Musically, the warehouse parties are the beauty of London, you can have amazing parties everywhere and that’s why London is so special. Also, these days i think the quality of parties is much higher in the warehouses

Nunzio: Clubs in London are great and if the people prefer warehouses i would say…it’s probably due to their lifestyle.

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The scene in London is very strong at the moment with so many parties happening every weekend, what makes yours distinctive in comparison to the rest?

Stef: Promoting in London is hard work. There are millions of people but also millions of promoters and it’s difficult to stand out from the crowd…  One of the things that differs us from other warehouse promotions in the fact that we secured a very special venue and use it exclusively for OneMore which makes the whole experience unique… Also, musically we range from house to techno so can offer the best of both worlds without falling into restrictive definitions…  

Nunzio: The quality of the events in London is extraordinarily high and I’m so happy because that gives us greater willpower to make any OneMore a special OneMore

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Alex: Well, you are completely right; every weekend there are many great parties to go to. Honestly, I think all the promoters in London do a great job and we have a massive respect for everyone. That’s why you can find us everywhere partying when we are not working 🙂  But I believe OneMore is something else, OneMore is the most innovative underground event and since last year, it became a new platform, the place where the finest underground DJs want to play to sell-out and appreciative audience. Also the support of our mixed followers each month is amazing.  There is always an intense energy around and strong connection between audience and music. The definition of OneMore given by many djs that have played for us has always the same ”feels like an old school Rave ” which is something rare to find these days . 

One more Halloween Party 

I guess there’ll be no time to recover after this weekend as you have your huge NYE event in a few weeks. Have you got anything special planned for the night?

OneMore: Definitely, it’s going to be a busy December 2012 for us. After the anniversary we have another big night as you said, NYE!  Our line up, as usual, is a special one, we have been working really hard to have these 2 busy artists Radio Slave and Tiefschwarz together on the same night. They will have full support from our residents Antonio De Angelis and Outart who are a very important part of the OneMore family. They have been with us since the beginning and delivered incredible performances every time! I believe there is no better line up to kick off this 2013 🙂 don’t you think?! :))

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Do you have any plans for OneMore outside of the events you’re throwing in London?

OneMore: We definitely have lots of things going on but we are not allowed to reveal anything at moment. We can guarantee you 2013 will bring OneMore to a new level and for sure MEOKO will be the first to find out! 😉

And finally, imagine this scenario. It’s NYE and Prince Harry rocks up to the front of the guestlist queue with his entourage. He’s not on the list…do you turn him away or let him in and show him a good time?

OneMore: Yes of course we would love to show him what a real party is all about… As long as he’s not too drunk! 

MEOKO are offering one lucky reader the chance to win x3 tickets to their party this Saturday, to win, simply email hello_competitions@devmeoko.co.uk with ‘One More Please’ as the Subject heading.

Buy Tickets for this Saturday 

OneMore on Facebook 


The Not So Serious Session 20 with Rainer

By Festival, Hot Off The Press, Interview & Exclusive Mix, Interviews, MEOKO Exclusive


Inspired by sets as an impressionable teenager from visiting electronic luminaries to his native Barcelona, DJ and producer Rainer is now busy emulating the rise of his former heroes. Moving to London as soon as he hit his twenties, Rainer quickly got involved with Half baked, one of the capital’s best loved afterhours Sunday parties, where he can be seen regularly spinning sets of deep, moody house. Strong working relationships with Cesare & Disorder and Viudez have seen the young producer release on Vinyl Club, Serialism and most recently, Desolat, marking him out as one of the freshest, most exciting talents on the scene. 

Exclusive Rainer Podcast 


The moment I realised I was going to pursue electronic music was…

I have been into electronic music since I was very young, listening to lots of different stuff, but I think what really got me into it was two clubs i used to go to in Barcelona when i was younger: Spoony Bar & Apolo. I was going there to listen to all my favoruite DJs like Jeff Mills, Sven [Vath], Ricardo [Villalobos], Richie [Hawtin] and it really got me pumped up to do my own thing. Then I moved to London and met other artists that motivated me to do what I do now.

Catalonian independence is…

Catalunya is a very unique and beautiful place. We’ve got pretty much everything here, so we have been fighting for independence for many years. It’s a bit of serious subject for a Not So Serious interview…

Producing alongside others really helps me…

I love to collaborate with other artists. Sometimes it’s difficult to make decisions by yourself and it’s good to have a  mate next to you to help develop ideas and arrangements. Working over the years with Viudez, Rudolf and Disorder really stimulated my interest for sound design and I’ve made some interesting stuff with them. At the moment I’m working with Patrice Meiner and Robin Ordel. Some nice tunes are coming so keep your eyes AND ears peeled for some new records from this bunch…

Sonar Festival…

is probably the biggest thing we have here in Barcelona. It comes with the sun in mid June and is lovely to have all my friends here for mostly non-serious level showcase events all over the city. This year was easily the best year yet, having presented Halfbaked at Vetro which was for me the best party of the summer. That said, we also experienced really unacceptable behaviour from the Catalan government who shut down lots of parties. Hopefully next year things are a bit more relaxed and they let us have some fun and enjoy the music.

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My biggest inspiration …

My friends and people around me. Musically, listening to Ricardo [Villalobos] play at fabric is always an emotional moment of inspiration.

A record that makes me tingle…

Prashlesh – Libermol.

I finally think I’m ready to start…

cooking myself some proper thai food.

The electronic music scene in Spain…

is strong. Im very happy to hear some quality sounds coming from Spain lately. Lots of good new labels and artists are based in Spain. This is great for the industry and for the people that want to start making music and feel like they don’t know where to start from. It also pleases me that promoters and parties are starting to bring more interesting acts to Barcelona, making it a more fun and inspiring place to go out!

I get really angry..

when people take things too seriously.

The funniest person in my life..

I’m surrounded by funny characters in general.

The most important thing to remember when you’re remixing is…

to ask for good quality sampled parts to start remixing with! Listen to the original and recompose it your way, it’s more personal that way.

My aims in the dance music industry are to…

travel to places I haven’t been to yet and meet amazing people to share music with.  I’m already looking forward to 2013. Half baked is looking great and lots of things are happening at Sonar ‘13. Also a new label from my good friends, BIRDSMAKINGMACHINE coming soon with quality sounds! And last but definitely not least, I want to enjoy every last minute of it!

Rainer on Facebook 

Serialism Records



MEOKO chats to Cerca Trova + Exclusive Rossko Mix

By Chats to MEOKO, Festival, Hot Off The Press, Interview & Exclusive Mix, Interviews, MEOKO Exclusive


Hi guys, so firstly, congratulations on the fourth birthday. Obviously you’re both a little older than four…is there a back-story to Cerca Trova? How did you guys meet and where did the idea for Cerca Trova come from?

Rossko: After one night out I came home in the early hours of the morning and I sat up watching the Discovery channel not being able to sleep (As you do!) there was a documentary about Leonardo Di Vinci. These “art detectives” were trying to solve the mystery of whether it was myth or fact that his famous lost painting was hidden behind a mural he painted in Italy for centuries. On the mural the words “Cerca Trova” were inscribed by Di Vinci, this was his cryptic clue that had people believe that this was where his master piece was kept hidden. Till this day they still don’t know! Cerca Trova means “Seek And You Will Find” and it was at this point in the documentary the light bulb went off in my head – this was the beginning of the concept and from there we started to organize the first party from this point.

Exclusive Rossko MEOKO Podcast 

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Can you remember the first party, how did it go?

Rossko: I remember it like it was yesterday – It was a collection of all our close friends and party people that we had met through years of clubbing in London. It was a very personal and intimate party for around 250 people. Tolga Fidan and Hector were headlining, we spent weeks going out meeting new people, taking down email address & mobile numbers to those we felt we were right for the party. We were chased by the Police on a number of occasions for putting up posters in the wrong places around East London – we wanted to reach out to all the right people..

The party had such an amazing vibe – it was so raw and the music from start to finish was so on point. We were so green on how to put on parties…I think that made that party even more special. We grew mainly from people talking to their friends about Cerca Trova, I think if it wasn’t for word of mouth, we wouldn’t be where we are today.

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405278 10150489859628693 647734760 nYou’re famed for finding edgy basement and warehouse locations for your events. What makes you do this rather than using a more traditional venue?

Daniel: We never once thought about using conventional nightclubs when we were planning our first parties. From the outset we wanted the party to have a raw and underground feel to it, this reflected the music we are still pushing to this day. We found that finding new environment’s really captured people’s imaginations. This really added to the atmosphere of the parties and it created a concept which we have kept; Seek And You Will Find. When we found our first venue, it was the final piece to the puzzle that brought all our ideas and ethos together. We wanted a relaxed atmosphere which we could control, we really wanted people to let go and forget what was going on in the outside world and more importantly the focus was around the music that brought like minded people together. I think larger clubs and bigger promotions have to think about attracting the numbers and look at which artists are current and in the now, they know this will bring the masses to fill their night – So I think they miss a lot of areas that we want to cover as a party.

With the exception of Fabric there aren’t really many big London clubs pushing that cutting edge House and Techno sound that we love. Is there a gap in the market for it in London?

Rossko: I think there is defiantly a gap to bring more House & Techno clubs to London. I just think there needs to more thought that goes into it. I’d like to see more intimate venues pop up with good values rather than larger business-minded clubs. In recent years we have seen these come and go and to be honest I think their failure was missing the point of what House & Techno is all about. All you need to do is look at the clubs that have been successful in the past. If you look closely enough you always see a trend, amazing residents, amazing sound, lighting and everyone connected inside the club from the door staff to the directors even down to the door policy…all are on the same page. Im sure there is a lot more behind to running a successful club than what I have said but I think those are the foundations that will give longevivity to the House & Techno scene. I’d definatly like to see clubs use less outside promoters and brands and concentrate on bringing back in-house nights and promotions.

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You must have learnt a lot from throwing so many parties. Have you had any major catastrophes that you’ve had to deal with?

Daniel: I remember two days before one of our events we were told the new basement venue we were using had been closed down by the local council due to problems that were out of our control. You can imagine the stress this caused, but we always try to remain positive and find a solution than look at the problem. These are the risks that occur frequently when you deal with rogue venue owners – thankfully we have always had great support from close friends and other promotions so we used our contacts to find a new venue close by. In-fact we got the green light on the day we released the address, that is how close we came to a major catastrophe. In the 4 years we have learned a lot and are always looking at how to tweek and improve from the last party, that’s so important to us.

You’ve had some amazing artists play at Cerca Trova including Tolga Fidan and Dan Andrei but you also push the upcoming local talent. Which sets have gone down as the most legendary at your parties would say?

Rossko: Locally Antony Difrancesco’s middle set before Dan Andrei really got me dancing, normally I’m in the background at the parties but I had to stop what I was doing and put my head down and dance to myself away from everyone at the back of the basement. Lee Rands 4 hour b2b with Chris Maran still goes down as one of my favourite warm ups at CT, I only wished that we recorded it – it was amazing to see the crowd arrive early and get into the set straight away.

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Daniel: Internationally; Federico Molinari really played with the crowd and sucked people in, very hypnotic with so much groove. He is one of the best technical DJ’s I seen for a long time, 3 deck mixing and using a lot of tools and acapellas to give it that third dimension. Not only his sound and skills but as a person he is such a great guy – the perfect gentlemen. We have a lot of respect for people like Federico.

So the 1st of December will see you turn 4. What have you got planned for us?

Rossko: Lee Burridge is coming to play an extended set along side Daniel and myself. Not much more needs to be said, we all know what we can expect 😉 He is one of those DJ’s that if your in the know – then you know.. As always we have been searching high and low for new and interesting spaces that fit the bill to host our parties. We are really excited to be working with a professional team and new venue which has restored our faith with venue owners. We will be giving you the usual Cerca Trova treatment, as well as installing a four-point sound system really giving us that extra clarity and warmth.


Lee Burridge is indeed a top booking and a fantastic DJ.  Assuming you didn’t have to worry about DJ fees and booking agents, who would your ideal lineup consist of?

Rossko: I have been a big fan of Terry Francis for a very long time. His older productions and aliases I’m very fond. He has always captured me and every time I see him in Room 1, 2, or 3 at Fabric. More importantly he has always delivered a sound to compliment the room and line up for that night – a proper resident DJ. I’d love to take him out of Fabric just for one night!

Daniel:  For me this is one of them, Lee has always been the first artist on my list to book. We wanted to wait for the right time and moment to book him (3 years) and we felt that our 4th birthday would be the perfect party to introduce him to our underground party away from his usual club and festival environment. Steve Bug is also another established DJ that has interested me since the first days of buying the Pokerflat vinyl. I’m also a big fan of Pablo Denegri which I am sure in the future we will be introducing from Argentina.

Besides throwing underground parties, have you got any other plans for Cerca Trova? Have you got any personal projects on the go?

Daniel: Next year will see the launch of Cerca Trova Recordings, which will be a limited pressing vinyl imprint. Like the party, the label will be a base for me and Rossko to release on aswell as featuring E.P’s and remixes from previous guest DJ’s that have played for Cerca Trova. We want the label to have that intimate and family feel to it – like the party. Each track will be focused around their experience at the party they played. We felt going into our 5th year was a good point to have another platform to express the music and the artists we currently respect.

Finally, if you could choose one, what’s been your favourite Cerca Trova memory so far?

30592 10150183181390556 4184766 n copy copyRossko: My favourite would have to be when we done one of our London special events; inviting Geddes and Enzo Siragusa to spin with us. Halfway through the night when Geddes was playing we had a power-cut, everything went pitch black and you can imagine what it must of felt like in a pitch black basement. 15 minutes went by which felt like an eternity while the owner frantically was checking the fuse-boxes to fix the problem. Suddenly, out of know where we heard the thud from the amp and before anything else turned back on we see the lights from the 1210 decks light up – Geddes instinctively picked up the needle and dropped it at the right point at the end of a break down which by in a few seconds when everything had powered back up it dropped straight back into the tune he was originally playing…The whole place erupted you could feel the energy in the place go through the roof!

Daniel: Dropping; Antonio’s – Hyperfunk in the basement, the crowd went completely bonkers! Not bad considering it’s a 15-year-old 2-step track…

Also at the end of our Autumn 2012 party at Autumn House, Rossko & I played a rare back-to-back set at 6am unannounced, we both knew it was the right time to connect and have a jam. You could see the sun coming up through the slats in the warehouse and small windows behind us, it completely changed the mood and the vibe of the party. This is what gives us the bug to continue to do these parties – creating special moments like that leave a lasting impression.

Interview by Nick Maleedy

Cerca Trova 4th Birthday Event Details 

Saturday 1st December / 22.00 – 6.00 am

Full Line Up

★ Lee Burridge (extended set)

★ Daniel

★ Rossko

Capacity: 500 /Smoking Terrace backing on to the Canal / Brand new toilet facilities /Local Taxi company will be supplied on the night /2 mins walk from Hackney Wick Railway Station

Alan Oldham “The Future is now” + Exclusive Podcast

By Hot Off The Press, Interview & Exclusive Mix, Interviews, MEOKO Exclusive

Alan Oldham no click

Alan Oldham, the gentle yet hard-hitting techno DJ, producer and comic drawer hiding behind the futuristic moniker T-1000, time-travels with ease. Having mastered this skill to perfection, he is able not only to totally recall the past but transform the present into the future. Upon having witnessed true craftsmanship by no other than Jeff Mills in his native hood of Detroit in his early days, Alan felt deeply inspired and consequently had the cosmic force to find his own path, leading him through drum-fuelled sets around the 130-bpm-benchmark, productions on celebrated techno labels and… beyond. Moving back and forth between the two complementary poles Detroit and Berlin, the man eases out a bit, paints a lot, and gets on the going. His label Pure Sonik Records, started in 1996, is still around, and gets joined by a new outlet DRS. read on to catch the whole drift. 

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Hey Alan, how are you? Thanks first of all for your brilliant mix, I think it really shows where you stand as an artist and where techno’s at right now for you… what were your thoughts and your intentions when you made it?

Well you specifically asked me for a DJ T-1000 mix, then I had the idea to feature my new album in the mix, along with an advance listen to some remixes I commissioned. Those will be out soon.

The are quite a few tracks taken from your new album on there, can you tell me which ones they are (as I am not sure if I can put the whole tracklist into the interview text), and what their story is…

Whoa, mostly the whole mix is my new stuff! “Drums and Weapons,” “Cockblockin’ Beats,” “Know Your Enemy,” and “Head Down” are all off the album, and the “Drums and Weapons” (Paul Mac’s Ravetastic Mix) and “Drums and Weapons” (Justin Berkovi’s Nightrax Remix, along with two other remixes, will be out in the near future.

“Drums And Weapons” is quite a bloodthirsty name one would think… is this cos your nation is constantly at war?

No, they are DJ weapons to rock a dancefloor! Don’t politicize my music.

I could see from your comments in Facebook where you stand politically… what do you think about the current situation? What is your stance on where your country is heading, and what was your feeling throughout your child-and adulthood…

Exclusive mix – Alan Oldham 


I just had a heavy political discussion with a friend of mine earlier tonight. Politically, I feel hopeful. I am a strong supporter of President Obama. Nobody else could have handled all the crises that have arisen since he was elected, especially with now maybe 48% of the country against him, mostly for racial reasons. Yeah, I said it. Most of his promises have been kept. Would McCain/Palin have been able to fix the US economy by now if they’d been elected in 2008? And if almost half the country and the opposite party tried to block their progress? I don’t think so. And remember, Mitt Romney lost in 2008 to McCain, who lost to Obama. I look forward to the GOP getting crushed again in November, and to four more years of President Barack Obama.

You are also a Berlin resident, moving back and forth between the two cities that resonate Techno in its purest form,… how did you get to find your place in the two of them?

The business had evolved (or devolved) to the point where you had to be in Europe in order to play gigs. In the 90s, promoters would just pay for overseas flights, so you’d just fly over, play one gig, maybe two, then go back. No more. So I got a flat in Berlin and started to stay longer to tour. I’d go out between gigs, made a lot of friends, learnt a little German 😉 and I came to love Berlin.

What do you like about them?

Chicago is a great place to relax and spend the summer. Cook out a lot and get fat. I DJed a gig quite recently here with Tim Baker that was the first time I’d played locally in years. I had a lot of fun, so thanks to him!

Could you imagine living somewhere else?

If I won the lotto, I would jetset between Berlin for music, L.A. for art and writing, and maybe the Caymans to chill. A condo in each. My dream life.

How and where did the album come about, where is it released?

After my last tour, where I played Shanghai and the Philippines for the first time, I came back to the States energized to make music. I made “Drums and Weapons” between late October 2011 to April of this year. It’s available in all digital shops now. Vinyl coming soon with the fans’ help!

You are a man of many trades, please tell me more about your other passion, drawing comics...

I started out doing comics even before I learned to DJ. In recent years, I’ve been coming back to it. I’ve kind of evolved a bit from comics to paintings on canvas. I did an art show in Amsterdam in 2010, and in Berlin in 2011. I’ve been trying to build up work for my next show, but people keep buying the art off my Facebook page! A good problem to have.


Who is your favorite super hero?

I don’t have a favorite, but I’ve been loving all the Marvel Comics movies of late!

How do you balance the two creative outlets you have, making music, and drawing, and how do the two complement each other?

It’s not really deep. When I get bored making music, I do some art, then vice versa. Especially when I’m in Berlin between gigs, that’s when I work on comics


How do you produce music? What’s your studio like?

All machines. I only use software in post. Editing, multi-tracking, EQing, etc. I am spinning on Traktor now, though, with the X1 and F1 controllers. I love not being at the mercy of decks and needles anymore.

What inspires you?

Everything. Movies, TV shows, art. I saw the Roy Lichtenstein exhibit earlier this summer here in Chicago. Very inspiring!

Who do you collaborate with? I heard you used quite a few tracks by some English techno heroes, like Ben Sims and Justin Berkovi…

They’re my friends and make great music. Paul Mac, too. Plus, they’re the only ones who still make tracks at 130 bpm and over!

Who is blowing your mind at the moment?

A lot of newer guys. Nino Sebelic, Plural, Kevin Gorman, Bodyscrub, Jason Fernandes, Developer, Alberto Pascual, Sigha. Angel Alanis is an old name, but he’s releasing a ton of new cats on his labels, and his remixes are on fire right now.

What would you like to make, next?

I’m working on my Detroitrocketscience project right now. I’m touring Europe as DRS next month. My first-ever tour with no vinyl. Old news for a lot of people but new for me! I play more minimal when I’m Detroitrocketscience, not hard.

Detroitrocketscience. How did this come about, and what’s the story behind this project? Same about DRS…

Detroitrocketscience is to me what Raudive is to Oliver Ho, or Traversable Wormhole is to Adam X. A fresh musical direction and purpose. DRS is the new label. “Laws of Anti-Gravity”, 10-inch is out now.

You are based in Chicago but sound-wise you re Detroit, how did you come to find your sound, how did you get immersed in DJing?

I started DJing in the early 90s. First on radio, then I learned to mix in clubs. I left Detroit in 2004, but am still a Detroiter 😉 Even though I have a base in the Chi, I don’t claim the Chicago sound at all.

Oh and last but not least, it seems as if you did enchant an entirely new peer group with your mix as many MEOKO listeners were not familiar with your sounds, what do you think about this… about electronic music having so many branches and stems right now, that one does not interweave with others any more at all? Is this evolution?

The reality is that Detroit, Chicago etc. are less and less relevant as time goes on. The new generation has its own set of heroes that do not overlap with ours. Remember that night we went to Club der Visionaire? And it was Seth Troxler and all the young guys. Me and you were the only old-schoolers there 😉

Is techno the dinosaur genre amongst them? Or: how does this genre reinvent itself?

I’m trying to do that right now. I’ll let you know 😉

What is 2012 for you???

A ton of artwork and paintings and a whole new business! A lot of releases, too. 2013 will be back to touring basics.

Alan Oldham on Facebook 

Ernesto Ferreyra Interview + Exclusive Podcast

By Hot Off The Press, Interview & Exclusive Mix, Interviews, MEOKO Exclusive


Ernesto Ferreya, the Cadenza vagabond who left his native Argentina in pursuit of freedom and musical enlightenment, dedicates his life to making intricate micro-measured yet very gripping house sound. After a few formative years in Mexico he disembarked in Mutek-home base Montreal to become part of its influential scene, also making up one part of the production duo Miniature Chic (with Guillaume Coutu-Dumont), he moved on to music-production mecca Berlin, attracted to its infinite potency. Positioning himself in the eye of the storm, Ferreyra has reached an accomplished state of equilibrium which perfectly balances his original desire to expand and explore, and the need to retreat and reflect. Regularly surfacing in the most attractive party destinations such as Ibiza, Ernesto is travelling from club to club as part of the Cadenza Vagabundo outfit, only to spend the remaining hours in the studio where he lets himself flow freely. Releasing only few and far-spread EPs, he is currently working on his second album. To listen to his podcast is an aural pleasure as he juggles rare tonalities with perfect hitting beats with ease and perfection. And to read this interview is very touching as Ernesto talks about his moving family history.


Hola, thanks for your brilliant mix! How did it come about, where did you make it, and what was it you wanted to get across?

Well, every time I make a mix, and they are not live mixes, I try to find songs that are more intimate, and I can identify with. When you have to cater for a bigger crowd, you cannot always play deeper and more refined stuff. Recently, I fell in love with  the productions coming out of Romania, it’s some kind of sound I always look for in my own productions, which is why there are quite a few tracks by Romanian artists. Sadly, I could not make the mix in my house as I would have mixed with vinyl and turntables, but on the road, on my laptop, travelling on the train from Poland to Berlin. It’s that kind of music you can only play at special occasions or at some after hour or in some cool club in Berlin. 

Ernesto Ferreyra Exclusive Podcast 

ernesto podcast

Where are you based right now, how do you feel about being in exile for so many years right now, and what kind of effect does this have on your music?

I live in Berlin for over four years right now, before this I was in Montreal for four years and before this in Mexico City for three. I am originally from Cordoba, Argentina, and I travel there once a year to see my friends and family. I always long for Argentina, and every now and then the thought of going back crosses my mind. But unlike the other Argentinean artists, have I started my career somewhere else and not in Argentina where I am quite unknown. This makes it a tough one when playing with the thought of going back. Six months here, six months there would be perfect actually. We’ll see. I really like it here right now. Berlin is to producers and DJs what Hollywood is to actors. It’s the place. Things are happening there and then. I feed myself with Berlin, my travels, lots of reading, lots of jazz, funk and soul, friends, collaborations with other artists… 

With who are you making music at the moment – with Guillaume And The Coutou-Dumonts (as Chic Miniature)?

With Guille, we already have some stuff ready that is almost finished, but ultimately, I have been working with Alejandro Mosso, Mirko Loko, and Cesar Merveille. We jam, have sessions in which we just explore. In which one almost always learns and teaches new things to the others. I love that! But I also love to be locked away in my own bubble and compose in my sobriety.

How does this happen? Do you work together on the machines, or each of you on his own? 

Well I have quite a few machines in my studio, a lot of them analogue, it’s quite a nice way to invest and get tax refunds… so, most times, we just take over the different machines and instruments and record them all on separate tracks, for hours and hours. And then later take the best parts and edit them. 

Do you have a German passport? 

No, I have a Canadian citizenship, so I applied for a Canadian artist visa. 

And why did you choose Mexico when you left Argentina behind? 

To be honest, any place would have done the trick, I just wanted to get away. I was on the best way to go bold and get bored to death in Cordoba. I would have ended up with a car, a house and a secure job. But also sad, and bored! I am a studied export merchant and I was working for the government. During the weekends, I was DJing, I lived in a parallel world. 

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Well, you made the right decision: To be free, and making music. 

This is the legacy of my dad: You have to be free and do what you believe in. I never got to know him. I was born during the dictatorship, 14 days after his disappearance. My mum and I got away. My mum was abducted as well, but just this once, the soldiers were kind enough and let her escape. The one who let her jump off the truck was expecting family around the same date. My mum says I was born under a lucky star. We look after each other. My parents were psychology students, and just happened to be hunted down by the military, just like many other completely innocent victims of the military government. 22 years old, students. There was no war, no guerillas, just victims. The only good thing I learned from this is that you have to live life to the fullest, chasing your dreams at all costs. 

We are just listening to your album “El Paraiso de Las Tortugas”, dancing…

Well, perfect timing. The track “Asequia” was actually made in memory of my parents. When they were hunted down, they were trying to escape through an irrigation ditch on the fields of the lands of my grandfather. 

There are just so many memories and feelings buried in the depths of this album. I think I read somewhere that it took eight years to make it.

No, that’s not true. I made it in the course of two years, just one of the tracks was older but I modified it. It’s very intense. I had to finish it when I flew out to Ibiza every weekend, and ended up completely wrecked, with my back killing me. Right now, I am working on my new album and it’s taking quite a lot of time. But it’s winter soon so this will actually be easier, to just spend a lot of time in the studio. Right now, I might tell you what it’s going to be like, and it will end up differing from what I said, so I better not tell you too much, just that it’s going to be different. The most important thing is that it has to make sense, there has to be a connection between all the elements, a concept, a certain homogeneity, that’s the most difficult part. That’s the difference between an album and an EP. It’s taking a stand where an artist is at, music-wise, encapsulating different moods, and unlike an EP, which is consisting of three mainly floor-orientated tracks, an album is something more complete. Well, right now, I am making music. And nothing else. So this is going to pull together sooner or later. 

Ernesto Ferreyra on Facebook 

Cadenza Vagabundos on Facebook 

Words by Katrin Richer 

Fatherhood, a near-death experience and the resurrection of his labels: Jay Haze talks to MEOKO + Exclusive podcast

By Hot Off The Press, Interview & Exclusive Mix, Interviews, MEOKO Exclusive

haze baner without

With over two decades experience in the music industry, Jay Haze has pretty much seen it all and, earlier this year, it appeared as though his career had all but ended when he apparently quit the music scene closing his seminal labels, Contexterrior and Tuning Spork, in the process. However, due to a dramatic series of events that have occurred in his life recently he is now resurrecting the labels and returning to music with a renewed zeal and determination. Brimming with new ideas that combine his charity work with music and visual productions, Jay is a changed man and in the interview that follows, he discusses his new outlook on life, impending fatherhood and why he’d become disillusioned with the electronic music ‘scene’ in great depth with Marcus Barnes for MEOKO..

So, Jay, you’re going to be a father…. are you ready?

Well, like I always say, ‘You can never be ready, you can just be accepting’. So… I’m ready to accept! [Laughs]

Has it taken you a while to accept?

Well, it hit me out of the blue so.. I guess I always wanted to have a child, but with this career it always made it seem as if it was something far away, off in the distant future.

And how do you feel now?

It’s great, getting through the pregnancy is hard for the man because women, when they’re pregnant, have hormones flying everywhere, so you just have to be super patient and… you have to be very docile…

… a bit of a punchbag?

Yeah yeah [Laughs], you can say that. There’s not a lot of logic sometimes!

That’s women for you. 😉

It’s humans for you. We never really make sense to the other person and it will forever be that way, I guess that’s the nature of relationships in reality.


Yeah, very true… and so how about your outlook in terms of your career? Becoming a father is going to impact in some respect..

It’s definitely scary to think about my career in electronic dance music.. now, living so far away, being in South America. I actually planned to move back to Europe before I found out that I was gonna be a father. It’s been really hard living down in South America – it’s been great because I’ve been able to get a lot of my social projects off the ground and, now that they’re working I feel like I had a chapter of my life that I needed to do [and that’s complete] so I was planning to move back and find a place to live, I was thinking about moving to Ibiza.

Yeah, there are some really beautiful places on that island.

That’s the thing, I like to live in places that are close to nature – with the sea, mountains… so that was the plan. Actually, when I went on my last tour, I found out three days into the tour that we were gonna have a child. And the weird thing is, my girl was told by several different doctors that she couldn’t have children.

So it’s even more amazing than a ‘normal’ pregnancy.

I guess you could say that. What was really shocking was the events that happened in my life up to that point. Basically, this last year has been the hardest of my life – absolutely, positively gut-wrenching. And literally three weeks before our child was conceived, my girlfriend and I suffered a very huge tragedy together in the Amazon jungle, where our boat sank and we fought on open waters for our lives for nearly four hours.


She made it to a tree that had grown out into the river, and I was just floating out in the river for hours in the dark, it was night time. There was nothing for me to hold on to, I was just floating down the river and, yeah… I had a near-death experience, I actually died. I swallowed water and drowned, it was such an intense moment – it changed everything for me. In fact, I haven’t been the same since then. So, that was already such an intense moment to have with this girl and so, shortly after, I flew her to Tulum, Mexico… I had to do a tour five days after this near-death experience…

How did you manage to do it and not cancel?

Well, because I’m almost broke! [Laughs] If I didn’t do it, then I wouldn’t have money to live. The whole thing is interesting because it made me look at life differently, now I’m in my thirties and about to be a father and don’t have a High School education – electronic music is really the only thing I have. I mean, I do art, I do sculpture, but it never pays any money. It kicked me in the ass and made me realise what I should be focusing on and… yeah…

If there’s anything that’s gonna change your perspective it’s things like that isn’t it. Is that why you’re resurrecting Contexterrior and Tuning Spork?

Sure, sure… it started after the near-death experience, then I knew that I had to not give up. I’ve spent 20 years of my life deeply involved in this industry…

…Did you feel jaded before the experience?

Sure, there’s so much going on, it’s hard to be somebody that’s been around for so long and seen so many changes and see certain aspects of the industry that are just really, really unfair and hard to… because I’m such an emotional person, it’s hard to deal with because I see so much real talent out there, people who are really putting their heart into something, and really care and they’re not getting any play. And you see a bunch of clowns and jokers who don’t even really understand the history and the roots of this thing and the work that people have done before them, the foundation that was laid out to allow them to be doing what they’re doing and… I guess I was jaded once I knew you can buy your way in and the most successful people are the ones that already had money, that’s the truth. There’s not really many rags to riches stories in electronic dance music [laughs]. The people who are running things already had money before.

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They’re in the majority at least anyway…

Yeah, so if you have money you can pay your way to the top of this thing and that’s what jaded me because I wasn’t fortunate enough to have money and I had to rely on my work and my craft and my skills and… when I started to realise that wasn’t enough…

…it’s heartbreaking.

Yeah, because it should be about your talent. It’s like now people are just in that state where they’re like, it’s a career opportunity, you know, to become an international DJ or producer or something like that.

Yeah man, when did that happen?!

I think it’s happened within the last five years. It has a lot to do with many factors – the spread of social communications, digital communications, throughout the world has helped that. Like Facebook, MySpace, Twitter... things where people can constantly promote themselves and some of what they promote might not even be true, I mean who’s checking?  Every other DJ right now writes on their Facebook that they’re supported by Richie Hawtin and… is anybody even checking that? [Laughs] It doesn’t even matter really but..

..yeah, it doesn’t matter but it would be funny if someone approached Richie with a list and asked him who he was really supporting.

Well, the truth is he would just say yes to everything because that’s the way you get by in this world, say yes to everything. Pretend like you like everything, just kiss ass man.

Yeah, don’t have an opinion because who has an opinion these days?

It’s dangerous to have an opinion.

Definitely, just nod your head and carry on…

Yeah, [In a sarcastic voice] “It’s a great record man, I really loved it…”

So, how important are the labels to you.. I guess they’re pretty crucial to your career?

Yeah well, I can only say that I have dedicated so much of my time, energy and my life savings into them that the decision to stop them was a culmination of events that happened and just wore down on my soul. Getting ripped off from so many different angles, from artists, distributors, from GEMA, it’s really hard. In life you go through ups and downs and, where you’re in a down, which I have been in for a while now, you just see things completely different. And what becomes more apparent to you is what’s wrong and I guess all those years I allowed myself to live in this bubble where it’s like, ‘Oh yeah, this is all great and this is all dandy’ – I had an epiphany and I thought, ‘What are we doing? We’re just running around in this world hopping on aeroplanes… what is the substance of our conversations?’ I have friends all over the world but how many of them are really close and, if we didn’t have techno, would we be friends at all? I guess I just felt the pressure of, you know.. it’s called a mid-life crisis, that’s what I had. I had a mid-life crisis and I wanted to start something new and I thought people would be up for it. I had a lot of support for Music 2.0, but in the moment it’s just not a viable reality.

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What stage are you at now in terms of coming out of this mid-life crisis and resurrecting the labels?

I think I’ve found myself again. I guess when you go through things like this you kinda forget yourself and what ended up happening was, I ended up putting myself in a category that I didn’t necessarily belong in. I put myself in the same category with people who’ve really done nothing to have success and just was really down on myself. I was really depressive, even though I was having gig requests, I wasn’t having things the way I’d hoped after all I’ve done- I just kind of felt like ‘Who am I? I’m a nobody’. Over the last few months I’ve had a lot of people reaching out to me and just being like, ‘Dude, you’ve made five killer albums your work has been represented in magazines and press all over the world’ and it’s still growing. I still have a fanbase, even with my old records people are rediscovering them. I guess I needed to be around people who cared about the work that I’ve done and recognise the struggle I had in trying to be original and not playing the game the way everyone else was and kissing everybody’s ass, not making hits of the moment and trying to be ahead of the game.


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Tuning Spork

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I think it’s definitely the right way to go about things. I take it the labels will be affected by this renewed focus?

I’ve got artists on the label like Arttu aka Lump, who’s rocking things right now. He’s got a new sound, it’s a raw, old school sound. I have artists that depend on Contexterrior and Tuning Spork to release their music and, simply put, there’s just not many labels out there that have been around that long and are a brand. I don’t know if it’s gonna be… I can’t predict the future, I’ve stopped trying. But basically I’m just gonna work with my artists and, if I like what they’re making, then I’m gonna release it and I hope that people find an interest in the labels again and take note to the fact that we’ve been here a long time, we’ve put a lot of work into this and it’s been a long struggle and there’s no reason for me to give up. The moment when I said goodbye to everyone in the world, the moment when I was dying, literally when my mouth was above water gasping for breath and fishes were biting my feet, in those moments you have such intense reflecting on your life and one of the things that struck me was how much love I have inside me for electronic music, how much love I have inside me for the culture, the possibilities, the sheer potential to create change in the world through unifying people with music. It was an eye-opening experience for me and I think the thing is to just continue on with that same focus rather than being concerned with being at the cutting edge of a new sound or something like that, you know?

Yeah, rather than trying to be ahead of the pack or the coolest it’s better to carry on trying to spread the message and unifying people.

Exactly, exactly. At some point I got side-tracked by the glamour and the glitz of this whole thing.

It’s easily done!

Yeah models and after-parties and it got boring really fast.

The superficial stuff gets boring really fast.


Well, if your heart’s in the right place anyway.

Yeah, the superficial stuff lasts too long for my comfort but… [laughs] you know, at some point you have to accept things and think, ‘That’s how it is, what can I do about it?’. I can’t change it, I can’t change anything that’s what I realised, but I can change how I feel about things and the way that I see things. I think that’s important for me to get a better outlook on things and to surround myself with people who actually support me, the original work I’ve done, the struggle that it’s been to do things the way I’ve done things, to do loops without using sample CDs, without taking the easy way out, you know.

Hmm, doing things the harder way.

Yeah, I mean I’m not gonna lie and say at some point I wasn’t tempted when I saw some of the clown DJ/producers running around out there just making what everybody else is making and being super successful and making tonnes of money doing it. Of course, I’ve contemplated making an easy track and sending it to the right label that I could get signed, because I feel like I do have that luxury where I can release where I wanna release, these days… It’s not like it was in the early stages of my career where I’d send a demo to somebody and they wouldn’t listen to it, now it’s like I’m working with labels that I wanna work with.

Yeah, taking the easy route is not always the most rewarding or satisfying in the long run..

Definitely not, but like they say ‘The grass is always greener on the other side, until you get there‘.

True. So in terms of releases, what have you got pencilled in for release over the next few months?

I’ve got two new artists; there’s a guy called Alexander Skancke, he’s from Norway and he’s 21. He’s doing Contexterrior sound, in the same frame of reference as Villalobos or early Contexterrior. I’ve got another younger kid called Sergey Trotzkopf from Siberia who’s really doing interesting sound design – it’s not really music for the masses, it’s weird and beaufitul at the same time. Those are the only new artists that I’m signing at the moment. Other than that I’ve got music coming out from Jay Tripwire, Masomenos… Soul In A Bottle is being re-released on the label Modern Soul with remixes from Wankelmut. I have a record coming out on Leftroom in October/November, a remix for Soul Clap coming out on Wolf+Lamb,
‘ve got remixes coming up for this Italian label Sonora Records.

Actually, I was pretty impressed with this guy Lorenzo Dada. Hes be
n making deep house or
deep techno, I’ve been listening to a lot of his stuff and I find it to be really musical, he’s a very talented artist. He asked me for a remix and then I checked out some of his stuff and I was like, ‘Wow, this is really quality stuff’. The vocalists he works with, the songs he writes… it’s not just standard stuff.

I’m gonna work on a new Fuckpony album, it took a while but Fuckpony really has a buzz going. I noticed in the last month, I checked one of the song’s on YouTube (I’m Burning Inside) and, in one month, the songs had over half a million plays. I uploaded it, it’s from an album that’s been out for two years so I want to do that. I want to concentrate on the Fuckpony sound, which is gonna be a bit more futuristic house and not so much looking back to the past. I’m gonna try something new with the new Fuckpony album, it’s gonna be in relation to the last one. I was really, really happy with the last one. It was a moment for me.

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So, moving on slightly. You’ve been in South America for a while now has that had much of an effect on the music you’re making? I know you’ve down-scaled your studio…

Of course, I had a dream studio, I had built a studio for eight years – it was my spaceship. I guess, when I had this epiphany.. I made the decision to stop the life I was living in a matter of two months  – I reduced an office, a studio and an apartment to two suitcases and moved to South America, not knowing anyone, not being to speak the language.. moving to Brazil first then on to Peru. It was one of those moments where I gave everything up, I guess I needed to see what it felt like. To give up everything and start from scratch. I’m lucky that I had my big studio, so I know what the sound was like, so I still have my sound – it’s just a smaller version. I have an MPC2000, a couple little analogue synths, my microphone and a tube amplifier, so I can always record… that’s another thing, I’ve been recording a lot of music again; writing songs, playing piano and singing – I don’t quite know what’s gonna happen with those but..

..it’s good to have some variety anyway.

Yeah! I let a few people hear it and they were really interested. I let Jonny White from Art Department hear it and he was like, ‘Dude, I’ll sign this… if you finish an album of this, I’ll sign it’. It’s just totally non-dance, so it was really nice to get that type of feedback. It’s definitely hard to not have my spaceship, it was really nice to have a big studio.

So has being in South America affected the sounds you’re creating at all?

Nah, I wish there was more – the problem down here is, the people of South America don’t embrace the sound of their culture enough. In Chile they definitely embrace their Latin roots a lot more than the other countries. Living in Brazil and Peru it sometimes can be frustrating to watch these producers look to Europe and try to make European music. They don’t really try to have an identity with their music and I think that’s sad because there’s a very rich and diverse music culture spreading throughout this entire continent, but that also has a lot to do with the fact that the people who are making music in South America are kinda coming from money. So they want to be living a ‘European lifestyle’ and they don’t have much of a connection to these musical roots because the real South American music is coming from the poor, it’s coming from the slums, the Favelas. The afro-fusion, how the whole slave trade worked in South America… the people who are making the electronic dance music we hear, they’re really not from that. It’s one of the things I wish they would embrace more and it’s something I always tell them, but they have to learn for themselves. It seems like there’s not even much interest in it, I get demos from South American artists all the time, especially Brazil – it’s like when are we gonna hear some Brazilian house? Rhythmically, melodically it’s such a rich culture and we have people doing the ‘European sound’.

It’s a shame.

The other thing we have down here is what we spoke about earlier, people buying their way to become a DJ. You have clowns, where being rich isn’t enough for them. We need less of that. People who book only the acts that will heighten their own career, they’ll pay Sven Vath $40,000 just so they can tag team with him at the end for an hour. This is what’s happening in South America, which is really stunting the growth of musical education, I guess that’s one of the reasons why I was looking forward to getting out.

Looking to the future, where do your hopes and ambitions lie now because you’ve been involved in the industry for quite some time and achieved a lot.. ?

Right now I’m doing a lot more videos myself, i’m gonna work on a film, I’m doing a lot of short films. I dunno if you’ve seen the stuff I’ve posted on my YouTube channel.. black ‘n white stuff.

Wow, so have you taught yourself then?

Yeah, I’ve been teaching myself and learning as I go. I’m shooting a lot, doing the camerawork, editing so that’s another thing with the label – there’s gonna be a lot more visuals combined with the music and not necessarily music videos, I’m gonna try to use music as a media, getting stories about people out there and to show people as much of the real world as possible and having the music and the record labels are a launching point. Inviting people to record images and to get them seen and for people to pay attention to them, that’s one of my ideas is to use my music as a newspaper. People are gonna search for my music anyway, like I just told you, there’s a song that has had 500,000 plays over the last month – that’s just got a picture of me on the video.

If you can utilise having that much appeal, it’s a quite a potent form of media.

Yeah, that’s the point – to try to maximise that and use that to reach a more global audience and reach many more people and help stories get told and put a more human face to what’s going on in the world because, right now, medias that exist are desenstising people.

Do you keep up with the current ‘scene’?

Not so much because I chose a different route to go with my life, I haven’t been keeping up so much because, the more I kept up with it, the more depressed I got actually. I was really finding it hard to keep in touch with it, it’s not how I wanna feel. If I keep my distance from it, it’s easier to be happy and I’m not thinking too much all the time about all these trivial things that I would think about when I was involved in the house and techno scene you know; who’s got the biggest record, is it a rip-off of this.. when I was paying too close attention to that, my thought process itself was not what it should be, I was not reaching my potential – when I took a step back from caring about it so much I was really able to start and initiate some projects that really created change.

Exclusive Jay Haze MEOKO Podcast – Click Here 

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It constricts your brain power almost, you get lost in this tiny world that doesn’t really mean anything.

Yeah, you get lost in this tiny world that means nothing and you always have something to write on Twitter about, you always have something to write on Facebook about but it’s all really just a show. I think a lot of people are gonna wake up at one point and realise that they’re empty and this scene… the scene itself, I love the culture. I love the culture of coming together and having these experiences where you feel like you’re one, like you get with live music – I really love that experience and I think it’s powerful, I think it’s important for people to experience that. But, at the same time, we need to look at the bigger picture and that to fully accept that for the most part this reality is futile. We can’t keep running around on aeroplanes, playing in this place and playing in that place because now all these places have their own scenes developing. Is it really necessary for me to run and hop on all these aeroplanes and play music that some DJ who’s really into it is playing? I think it needs to go to the residencies. That’s why somebody like Craig Richards… Craig is one of my heroes in the scene because he’s managed to make a career for himself in London and build that and keep going forward, that’s what I want in my career. I want to be able to play somewhere that I’m living in every week, have my people like Larry Levan did back in the day and not have to travel so much because you have to understand what that does to your head man… being in Africa one day, this place the next, this place the next, breathing in all this air, all this travel, it’s really hard on the body. And we don’t understand yet fully what are the side-effects because it’s such a new thing. There’s not many careers out there where people are flying as much, as intensely. It would be nice to be able to have a hometown thing.

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Yeah for sure.

When you see what the Wolf+Lamb guys did with the Marcy Hotel, that was the fucking bomb man! That is the way it should be [Laughs]. Zev and Gadi and all them, they did a great job man, wow. If I was ever able to do something like that, that is a dream come true. Recently I played at the Electric Pickle in Miami, and I met the owner and he was like, ‘Dude, I’ve been trying to get you to play here for years man, this place was built for people like you!’ I was like, ‘This is the shit, man!’ All wood, nice sound system, regulars, you get to play what you wanna play, musical education, it was just amazing.

Yeah man, I love the Pickle.

I would love to see that kind of thing happen more, less super clubs more real clubs.

So, what’s the plan up until the birth of your baby?

I’m playing random gigs here and there, I’m playing Santiago in Chile and Mendoza in Argentina this week. I’m gonna make myself more available for South American gigs, I haven’t been gigging so much in South America. I’m gonna do another tour in Europe in November and hopefully I’ll get a good 8 to 10 shows in a month, hopefully! So I’ll have money to fall back on when the baby is born, because we need a new apartment… there’s a lot of stress right now. Rent is really high in Lima and they require you to [pauses] it’s horrible man, it’s like jumping through hoops. It’s like jumping through hoops. I’m gonna keep struggling, keep working hard, keep doing videos, I’m gonna support my girlfriend and try to make things work out. Hopefully, with this new attitude that I have and this new outlook it will get people interested again and to pay attention.


Words by Marcus Barnes 

Dilo chats to MEOKO + Exclusive Mix

By Chats to MEOKO, Festival, Hot Off The Press, Interview & Exclusive Mix, Interviews, MEOKO Exclusive


Leaving behind his birthplace Buenos Aires to firmly establish himself in Berlin, mecca of electronic music and THE place to make it not break it in 2012, Argentinean live musician and producer Dilo is known for his exquisite audio. His productions that sound like crystalline experimental techno and house are, quite simply put, some of the most marvelous releases around, and as part of the smooth-sounding dream-cream pop band Monotax, he’s done an incredible job to get electronic music lovers into live band formats again. Regularly surfacing on various labels — may it be on his own imprint, Igloo Records, which has released material from the likes of Pinkler Ismael, From Karaoke To Stardom and himself, manifesting himself as the abstract yet fluffy Elephant Pixel –, he’s published music on Hope Central, Soma, Telegraph, Einmaleins, Trapez, LessIzMore, Esperanza, Adjunct, Minus, We Are, Dumb Unit, Clink, Unfoundsound, Leftroom, Romanphoto, amongst others. And it does not stop there. Teaming up with Los Angeles’s oddball [a]pendics.shuffle, their goofy identity Cascabel Gentz is ruff-shuffling the floors once more. 


In 2009, Dilo released his first album called “Waheira” on his own label Igloo-Rec. Its title song pushed all the way into Beatport’s Top 10 and hit the De-Bug Magazine chart at number 2. This massive debut was followed up by a double release with remixes by Mark Henning, Agaric, Kate Simko, Someone Else, From Karaoke To Stardom, Elon, and many more. Now, three years down the road, he is about to give birth to his second longplayer, “Ethereal”, a true love child born in the hazy gap in between the floor and outer space. For those in the know, it is clear that his move to Berlin has played an important role in Dilo adjusting his outlook on music, life, and the industry in particular, working even harder to make himself heard. Recently playing at Barcelona’s edition of the ultra-established minimalist Mutek festival, he is now regularly accompanying his live acts with his own vocals, which he also lent to Fritz & Lang. Playing an important role in his current productions, his gentle voice is giving his often clinical and microscopic sound an earthen tone and feel, whilst paying tribute to his everlasting love to the Beatles and their colossal harmonics. 

 His Latin American roots gently shimmer through the cool and often grey Berlin summer vibes, making his MEOKO podcast offering the perfect soundtrack for this summer as well as offering a taste of what it means to be Dilo these days.

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Hey Dilo, great to catch up with you again… tell me about the mix first..

I wanted to express my momentary situation, music-wise….what I’ve been listening and playing lately and which things are influencing me. I also wanted to express what it’s like to live the Berlin summer with its random weather and constant rains.

Where and what are you playing recently, what is being something you consciously dig?

Recently, I’ve been playing a lot in Berlin and Hamburg, as well as the Mutek Festival in Barcelona, in Switzerland, at the Black in Odessa (Ukraine) and I’m excited about what’s next: My Igloo Night at Chalet, the new club by the former Bar25 crew, Azora Festival in Hungary, and then my USA tour in September and South America in November.

How on earth was Mutek? Did you play as Elephant Pixel or Dilo?

I played as Dilo and did vocals live. I played tracks by Dilo, Monotax and Cascabel Gentz, my project with [a]pendics.shuffle. 

It’s been a very good year for you, no?

So far so good…though you cant really relax. It’s work you do pretty much every day and you have to keep it up.

How does this challenge feel for you? Is this what you yearned for when you left Argentina for good?

I try not to think too much about the “challenge” itself. It’s true tho that moving here permanently was a clear challenge in the fact that now I have to play for the whole year and not just for four or five months. I’m glad that so far it’s going well! Truth is that bookings have been going well for the last eight years so I could have moved here before, I just didn’t want to do it. Now I’m sure about it.

So now, playing live has become a mayor focus?

No, I still work hard on the label and on making music. I’ve been working for nearly three years on my new album, “Ethereal”. I also have been doing lots of collaborations with friends in Berlin. I did stuff with my old friend and collaborator Nicolas Stofenmacher and his new project Fritz & Lang, as well as new songs with [a]pendics.shuffle, Justin Nabbs, Pipo Vitch, Shadi Megallaa, just to mention a few. I don’t know when it will come out as I don’t have a label bugging me about this, it will be done when it’s done and it will be on my label Igloo. It will be a double album delivery. Let’s say it’s double but it will be released in two parts. I love my label Igloo and it’s the label that most sounds like me so at the end it’s natural to be released on my own imprint. If this release will generate interest of other labels, that’s welcome too.


So… how does ethereal feel?

It feels like a lot of work. And it feels like tripping sometimes. In any case… better you tell me how it sounds! On each part of the album are around ten tracks which will be showing all my different faces, but everything will be signed as “Dilo”. So you get to hear Monotax, Elephant Pixel, Cascabel Gentz all together somehow.

How will they finally find together, what will be their faces? Will they all become one?

Basically expect dance floor tracks but not just that, let’s make it a double bet by adding some “songs” and electronic elements like IDM and ambient to it. A bit like how started off with my first album “Waheira”. The artwork was done by a wonderful artist i discovered when i was playing in Sao Paulo, Brazil. His name is Antonio Failache.

Do you like owls?

I love nature and animals, I seem to have something with birds. Owls, penguins, albatrosses.

Last question of this interview before we’re off into the mix. Who is the night owl talking like a journalist in a taxi… at the beginning?

That’s a piece of an interview executed many years ago by a radio station from Munich – recorded at Aula Magna, Seph’s and Pablo Denegri’s studio in Buenos Aires.

Dilo on Facebook

Words by Katrin Richter